NEW YORK, N.Y.— Frieze New York opens to the public today in Randall’s Island Park and runs through May 5. The eighth edition of the art fair features nearly 200 galleries from 26 countries. This year, there are plenty of opportunities to experience African American art and works by an international slate of black artists, whether exploring the gallery booths or sitting in on the Frieze Talks programs.
Works by contemporary artists and established figures from the 20th and 21st centuries are on view. Upon entering the fair from the north entrance, a monumental painting by British artist Chris Ofili greets you at the Victoria Miro booth. Paintings by Frank Bowling can be found at Alexander Gray Associates and Hales Gallery. A selection of works by artists including El Anatsui, Odili Donald Odita, Toyin Ojih Odutola, and Carrie Mae Weems, among others, is on view at Jack Shainman. At Lehmann Maupin, a pair of shoelace works by Nari Ward are displayed.
Victoria Miro Gallery, London: CHRIS OFILI, “to take and to give,” 2012 (acrylic on canvas, 519 x 880 cm / 204 3/8 x 346 1/2 inches) ; with (in foreground) YAYOI KUSAMA, “Narcissus Garden, 1966- (stainless steel spheres, 34 cms diameter each, installation dimensions variable). | Photo by Victoria L. Valentine
A special themed section is dedicated to Just Above Midtown (JAM), the gallery founded by Linda Goode Bryant in 1974. She established the legendary New York City space because museums and galleries weren’t receptive to African American artists. JAM provided a place where their work could be seen. At Frieze, a selection of galleries have devoted booths to seven artists who exhibited at JAM—Dawoud Bey, Norman Lewis, Lorraine O’Grady, Howardena Pindell, Lorna Simpson, Ming Smith, and Senga Nengudi.
In celebration of the 50th anniversary of Museo del Barrio, Frieze is presenting Diálogos, a themed section focusing on works by contemporary Latinx and Latin American artists, including Firelei Baez.
Several galleries are presenting solo exhibitions dedicated to black artists. New York’s Michael Rosenfeld Gallery is showcasing paintings by William T. Williams from the 1970s. David Kordansky of Los Angeles has cast sculptures by Fred Eversley on display. Mariane Ibrahim, who is transitioning from Seattle to Chicago, has works by South African painter Thenjiwe Niki Nkosi. London-based Vigo Gallery is focusing on a new body of work by Brooklyn-based Derrick Adams. Staged with pink walls, the booths featuring works by Nkosi and Adams are among the most striking at the fair.
Several galleries are presenting solo exhibitions dedicated to black artists. Staged with pink walls, the booths featuring works by Thenjiwe Niki Nkosi and Derrick Adams are among the most striking at the fair.
Frieze New York 2019 runs May 3-5 on Randall’s Island. | Photo courtesy Frieze
Preview days featured compelling talks. Faith Ringgold and Hans-Ulrich Obrist were in dialogue on Wednesday, in anticipation of the artist’s solo show at Serpentine Galleries in London. Opening June 6, the exhibition is Ringgold’s first at an international institution. On Thursday, JAM founder Linda Goode Bryant, curator Franklin Sirmans, and photographer Dawoud Bey, were in conversation during a breakfast event. Today Frieze Talks includes artist Simone Leigh. On Saturday, Aruna D’Souza and Nico Wheadon are in conversation with artist Sable Elyse Smith.
Off-site, Frieze Sculpture is installed at Rockefeller Center. The presentation includes works by 14 artists, Nick Cave, Ibrahim Mahama, Paulo Nazareth, and Hank Willis Thomas, among them.
Back on Randall’s Island, both 2019 booth prizes went to galleries exhibiting works by African American artists. Jenkins Johnson Gallery won the Stand Prize, which recognizes the best booth at the fair. Part of the JAM presentation, the gallery is showing a selection of images by Ming Smith, the pioneering New York photographer. The Frame section of the fair features emerging galleries. The Frame Prize went to Company gallery where works by Philadelphia-based painter Jonathan Lyndon Chase are on view.
In March, Frieze announced Lauren Halsey won the 2019 Frieze Artist Award. The recognition included a commission to produce a work for the fair, curated by Courtney J. Martin. Described as an architectural intervention, Halsey’s “Prototype Column for tha Shaw (RIP the Honorable Ermias Nipsey Hussle Asghedom) I & II” is dedicated to Nipsey Hussle (1985-2019), the recently slain rapper and entrepreneur. The Los Angeles artist called him “South Central’s superhero.” CT
Frieze New York is open to the public May 3-5, 2019, on Randall’s Island.
Winner of the 2019 Frieze Artist Award, Los Angeles artist LAUREN HALSEY created “Prototype Column for tha Shaw (RIP the Honorable Ermias Nipsey Hussle Asghedom) I & II,” an installation dedicated to the memory of Nipsey Hussle (1985-2019). | Photo courtesy Frieze
Night Gallery, Los Angeles: DEREK FORDJOUR, Top-Ten ALLSTARS, 2019 (acrylic, charcoal, oil pastel, and foil on newspaper mounted on canvas, framed – 10 pieces, 30 x 24 inches each). | Photo by Victoria L. Valentine
James Cohan, NYC, and Kavi Gupta, Chicago: From left, Installation view of FIRELEI BAEZ, “the trace, whether we are attending to it or not (a space for each other’s breathing),” 2019 (acrylic, oil, and transfer on archival printed canvas, 90 x 114 3/8) and Untitled (Central Power Station), 2019 (acrylic and oil on archival painted canvas, 96 1/4 x 124 1/4). | Photo by Victoria L. Valentine
Mariane Ibrahim Gallery, headed to Chicago: THENJIWE NIKI NKOSI, Part of her Gymnasium series, “Practice,” 2019 (oil on canvas, 43 1/4 x 55 1/8 x 1 7/8 inches / 110 x 140 x 4.8 cm). | Photo by Victoria L. Valentine
David Kordansky Gallery, Los Angeles: Installation view of cast polyester works by FRED EVERSLEY. | Photo by Victoria L. Valentine
Roberts Projects, Los Angeles: From left, AMOAKO BOAFO (5), “Cobinnah with Yellow Tails,” “Judgy Look,” “Hand on Head,” “Blue Hat Blue Jacket,” and “Plaid Shirt,” all 2019 (oil on paper, 38.58 x 27.56 inches). | Photo by Victoria L. Valentine
READ MORE about Amoako Boafo’s work and recent exhibition at Robert Projects on Culture Type
Hales Gallery, NYC and London: OMAR BA, “Vent provenant du Nord, Pays du Sud, Pillage à huis Clos,” 2014 (oil, gouache, ink and pencil on corrugated board, 196 x 199 cm / 77 1/8 x 78 3/8 inches; framed: 205.7 x 209.4 cm / 81 x 82 1/2 inches). | Photo by Victoria L. Valentine
Vigo Gallery, London: Installation view of DERRICK ADAMS latest project, “Beauty World,” a suite of large-scale acrylic works on paper, that continue his ongoing Deconstruction Worker series. Shown, DERRICK ADAMS, “Style Variation 6,” 2019 (acrylic paint and graphite on digital photograph inkjet on watercolor paper, 177.8 x 111.8 cm / 70 x 44 inches). | Photo by Victoria L. Valentine
Jack Shainman Gallery, NYC: Detail TOYIN OJIH ODUTOLA, “A Pull at the Back of the Mind” (charcoal, pastel and chalk on linen). | Photo by Victoria L. Valentine
Toyin Ojih Odutola has traditionally made drawings on paper. She changed up this time, working on canvas. On Instagram, she said: “Been mad quiet about this…. Yup, it’s on canvas. Ya girl done changed.”
Jack Shainman Gallery, NYC: From left, A NICK CAVE soundsuit is perched high above the gallery’s booth; EL ANATSUI, “Trains of Thought II,” 2014 (aluminum and copper wire, 45 x 394 1/2 inches). | Photos by Victoria L. Valentine
From left, Installation view of ODILI DONALD ODITA, “Rapture,” 2019 (acrylic latex paint on aluminum core fabricated wood panel with reconstituted wood veneer, 92 x 54 x1 3/4 inches); EL ANATSUI, “Trains of Thought II,” 2014 (aluminum and copper wire, 45 x 394 1/2 inches). | Photo by Victoria L. Valentine
Alexander Gray Associates, NYC: From left, FRANK BOWLING, “Dawngallop,” 2015 (acrylic on collaged canvas); RICARDO BREY, “Joy,” 2018 (mixed media). | Photo by Victoria L. Valentine
Alexander Gray Associates, NYC: From left, FRANK BOWLING (2), “Capricorn Rising II,” 2013 (acrylic and mixed media on collaged canvas); “Capricorn Rising I,” 2013 (acrylic on collaged canvas). | Photo by Victoria L. Valentine
Sean Kelly Gallery, NYC: At right, HUGO MCCLOUD, “stirred up,” 2019 (patina, oil stick, solder on solid bronze sheet mounted on aluminum frame, 72 x 92 inches). | Photo by Victoria L. Valentine
James Cohan, NYC: YINKA SHONIBARE CBE, “Material II,” 2018 (hand painted bronze, 27 1/2 x 39 x 29 7/8 inches). | Photo by Mark Blower. Courtesy of Mark Blower/Frieze
Half Gallery, NYC: Installation view of paintings by VAUGHN SPANN. | Photo by Victoria L. Valentine
Half Gallery, NYC: Installation view of paintings by VAUGHN SPANN. | Photo by Victoria L. Valentine
Lehmann Maupin, NYC: NARI WARD, Fire II,” 2019 (shoelaces, 60 x 71 x 1.5 inches). | Photo by Victoria L. Valentine
Pippy Houldsworth Gallery, London: FAITH RINGGOLD, “Early Works #7: Four Women at a Table,” 1962 (oil on canvas, 30.2 x 40 inches). | Photo by Victoria L. Valentine
Michael Rosenfeld Gallery: WILLIAM T. WILLIAMS, “Hawk’s Return,” 1969-70 (acrylic on canvas, 109 x 85 1/2). | Photo by Victoria L. Valentine
Michael Rosenfeld Gallery, NYC: Installation view, from left, WILLIAM T. WILLIAMS (3), “Pine Grove Street,” 1970 (acrylic and graphite on paper, 53 1/2 x 43 inches, sheet size) $200,000; “Old Bethel,” 1970 (acrylic on paper, 56 3/8 x 2 inches, sheet size) $200,000; “Flagstone,” 1970 (acrylic and graphite on paper, 52 1/4 x 52 1/4 sheet size) $200,000. | Photo by Victoria L. Valentine
Part of the tribute to Just Above Midtown: From left, 10 percent of the proceeds from booth fees in the special themed section will benefit Project Eats, which was founded by Linda Goode Bryant, shown at right with Karen Jenkins-Johnson, owner of Jenkins Johnson Gallery, which won the 2019 Stand Prize for its presentation of photographs by Ming Smith. | Photos by Mark Blower. Courtesy of Mark Blower/Frieze
Michael Rosenfeld Gallery, NYC: Part of the tribute to Just Above Midtown gallery, NORMAN LEWIS (1909-1979), “Celestial Majesty,” 1976 (oil on canvas, 60 x 60 inches). | Courtesy Michael Rosenfeld Gallery/Frieze
Thomas Erben Gallery, Levy Gorvy, Spruth Magers: Part of the tribute to Just Above Midtown gallery, Installation view of works by SENGA NENGUDI, including her RSVP series. | Photos by Mark Blower. Courtesy of Mark Blower/Frieze
Alexander Gray Associates, From left, MELVIN EDWARDS (3), “Keora,” 1977-79, “Miliki,” 1987, “WTC NYC,” 2001; all welded steel. | Photo by Victoria L. Valentine
Roberts Projects, Los Angeles: KEHINDE WILEY, “Charles I,” 2018 (oil on linen, 96 x 72 inches / 243.8 x 182.9 cm). | Photo by Victoria L. Valentine
Vielmetter Los Angeles: Photographs by PAUL MPAGI SEPUYA. | Photo by Victoria L. Valentine
Mitchell-Innes & Nash: POPE. L (5), From left, “Fushia Pussy,” 2017-18 (acrylic, graphite, charcoal, ink, and matte medium on panel); “Fuschi A Imma Terial,” 2017-18 (acrylic, ballpoint, graphite, colored white out and ink on panel); “Fushia Riddle,” 2017-18 (acrylic, graphite, ballpoint, charcoal, ink, and matte medium on panel); 16 x 12 x 1 1/2 inches (3); Right, top to bottom, “Fusc What For Th Y (Black),” 2018 (laser print on copy paper, acrylic, and ink on panel); “Fu Le What Yo Do For The E Cology (Red),” 2018 (laser print on copy paper, acrylic, ink and hair on panel ); 12 x 16 x 1 1/2 inches (2). | Photo by Victoria L. Valentine
Galerie Lelong & Co., NYC: BARTHELEMY TOGUO, “Exodus,” 2019 (bicycle, trailer, fabric, plastic jugs, broom, 72 x 152 x 64). | Photo by Victoria L. Valentine
BOOKSHELF
Linda Goode Bryant wrote about Just Above Midtown (JAM) gallery in the “Soul of a Nation: Art in the Age of Black Power” catalog. A selection of new collages by Lorna Simpson are featured in the Hauser & Wirth booth paying tribute to JAM. The recent volume, “Lorna Simpson Collages,” focuses on the body of work inspired by photographs sourced from Ebony and Jet magazine dating from the 1950s to 1970s. “Frank Bowling: Mappa Mundi” documents the artist’s exhibition at Haus der Kunst. Also consider, “William T. Williams Things Unknown Paintings, 1968-2017.”
